Details

Written by Matthew Toomey

Created: 21 November 2004

There’s a legend that when someone dies in the grip of a powerful rage, they leave behind a curse.  This is the flimsy premise behind The Grudge, starring Sarah Michelle Gellar.  Those going to see Miss Gellar display her “talent” will be sorely disappointed.  She utters few words and looks rather disinterested (if you ask me).  Still, the film debuted at number one at the U.S. leaving many of the belief that Gellar is the new box-office draw.  I can only laugh.

Set in Japan, Gellar plays care worker Karen Davis.  Her latest assignment is to care for an elderly woman is a near comatose state.  On arriving at the house, an immediate shiver runs down Karen’s spine.  She hears strange sounds from within the walls and something just isn’t right.  Adding to the mystery is the fact that the previous care worker to visit the house has disappeared.

Looking upstairs, Karen makes a horrifying discovery.  When the police arrive to investigate, she learns there’s a history behind this particular residence.  Others have fallen victim and yet it cannot be logically explained.  A shaken Karen wants to know more but her life is now in increasing danger…

Based on a Japanese film of the same title, The Grudge is pathetically weak.  There’s a creaking noise which is supposed to be scary but I could only cringe at how often it was used and how unconvincing it sounded.  Director Takashi Shimizu tries to mess with us by using shadows, surprises and scary music but when you boil it down, this film is about nothing.  The only scary element was watching how many people paid to see it.

Details

Written by Matthew Toomey

Created: 14 November 2004

Bridget Jones (played by Renee Zellweger) continues to overcomplicate even the simplest situations in Bridget Jones: The Edge Of Reason.  After winning the affections of Mark Darcy (Colin Firth) at the conclusion of the first film, this sequel sees Bridget doing her very best to unwittingly ruin this dream relationship.

I haven’t read the novel but surely there’s more substance than what’s on show here.  This is a paper thin plot and simply revolves around Bridget in pursuit of a husband.  They may only have been going out for two months but all she can think of is accepting a proposal of marriage from Mark Darcy. 

There are three parts though to most romantic movies – boy gets girl, boy loses girl, boy gets girl.  The film meanders innocently through the first two acts before taking an absolutely farcical turn in the finale.  The convoluted situation by which the two are reunited is ludicrous.  I’ll bite my tongue and not reveal this element of the story but for those that have seen the film, it all begins when Bridget puts something in her suitcase.  You can make humour out of any situation but given the sweetness of Bridget and her story, I’m really surprised they took this path.  It borders on being insulting.

I raved about the first film when released in 2001.  It was a box-office hit and earned Renee Zellweger an Academy Award nomination.  Like any sequel though, the motivation behind this production appears to be money.  All was nicely tied up at the end of Bridget Jones’ Diary and there was no need to revisit this tale.

If you ask me, Mark and Bridget make a pretty uninteresting couple.  She’s a neurotic who will never be happy and he’s a bore who works too much.  The only life in the film comes from the reappearance of Hugh Grant as Daniel Cleaver, one of Bridget’s work colleagues.  Grant and Zellweger share some mildly funny scenes but that’s as far as my endorsements go.

This time around, the diary of Bridget Jones is a very tedious read.

Details

Written by Matthew Toomey

Created: 21 November 2004

As a Christmas movie, The Polar Express stands out.  For one thing, it isn’t a comedy.  It’s a mystical family film which embodies the spirit of Christmas.  Unfortunately for the creators, this isn’t a film the public wants to see.  Costing in excess of $150m, The Polar Express made a measly $23m in its opening weekend in the States.

Our leading character is a young boy who has a growing doubt over the existence of Santa Clause.  Lying in his bed on Christmas Eve, the walls start shaking and a giant train pulls up outside his front door.  It’s the Polar Express and it takes any doubting child directly to the North Pole to see first hand the magic Christmas.  An excited conductor ushers the boy aboard and the journey begins.

The children aboard the train are in for a bumpy journey as the train traverses high mountains and icy glaciers en route to its destination.  They will ultimately find their way to North Pole where they will be treated to sight few children ever see and they will gather an appreciation for the spirit of Christmas.

We have a different style of animation on display here – some characteristics make it look very real but other characteristics create an opposing feel.  The children look amazingly real and yet their faces are strange, almost creepy.  It’s a little off-putting.  I applaud the attempt at originality but not sure if it works in the film’s favour.

Another strange aspect to the film is the use of Tom Hanks.  Hanks voices the lead boy, his father, the conductor, a hobo, a scrooge and Santa Clause himself.  Again, I have qualms over whether this was the right decision.  A few of his characters sounded too similar and I felt more distracted than impressed.

On the whole though, I found enjoyment in the film and do have words of praise for director Robert Zemeckis (Forrest Gump, Cast Away).  The colours and softness to the film’s textures are beautiful and the score from composer Alan Silvestri is delightfully uplifting.  The storyline may be a little dark, but I’d have no misgivings taking a child to see it.  All aboard!

Details

Written by Matthew Toomey

Created: 07 November 2004

Cole Porter was a brilliant songwriter and composer.  He first rose to prominence in the 1930s and his Broadway hits included The Gay Divorce, Anything Goes and Leave It To Me.  One of his last shows is one many will remember - Kiss Me, Kate in 1948.

De-Lovely is the story of Porter’s life but it is told in a rather unique way.  We are introduced to an aged Cole Porter (played by Kevin Kline) sitting with a friend (Pryce) in an empty theatre.  From there, they both look back at his life with Porter offering commentary.  Porter’s famous songs help tell the story and so you could call this part-drama, part-musical.  A few artists of note appear in the film and lend their voices in the performance of Porter’s songs.  Robbie Williams, Elvis Costello, Alanis Morissette, Caroline O’Connor, Cheryl Crow and Natalie Cole are amongst them.

The story focuses on Porter’s relationship with wife Linda (Judd).  The two married in 1919 and Cole loved Linda but his success and his wealth gave him the ability to explore another love in his life – men.  He developed relationships with male performers and frequently attended gay clubs.  His wife knew of this and was happy for him to explore these “interests” but they soon dominated their relationship and Cole seldom spent time at home.

The songs and music of De-Lovely are great but the story is lacking.  I confess to being touched by the teary-eyed conclusion but the screenplay lacks depth.  Too much time is spent exploring Cole’s relationship with men and I would have rather seen a greater focus on his actual talent.  Each to their own though as many others may prefer the approach taken by writer Jay Cocks.

I enjoyed the performances of Kevin Kline and Ashley Judd.  It’s great to see Judd showcasing her talent rather than having it go to waste in some cheap crime thriller.  I don’t know if either will find themselves in contention for any year-end awards but the make-up artists sure will.  With the film spread over several decades, they age Kline and Judd beautifully.  Kline is almost unrecognisable by the end but yep, that is him under all that make-up.

Premiering at the lucrative Cannes Film Festival and debuting here in Brisbane as part of the Brisbane International Film Festival, De-Lovely is a classy film for lovers of great music.

Details

Written by Matthew Toomey

Created: 16 November 2004

Good luck trying to find a laugh in this pitiful excuse for a motion picture.  Queen Latifah is a delivery driver named Belle who has finally gotten her New York City taxi licence.  Jimmy Fallon is a police detective named Washburn who has had his licence revoked because he’s the worst driver on earth.

When a bank is robbed and Washburn is the nearest to the vicinity, he hops in Belle’s cab and the adventures begin.  The cab gets damaged, Belle’s boyfriend is fuming, Jimmy gets kicked off the force, and yet…  Pfffft, we all know what happens in the end.  They capture the robbers in a crazy car chase and redeem themselves.

How stupid is this plot?  How can a leading police officer not be able to drive?  How can the other police officers be so mind-numbingly stupid?  How can a group of women pull off these daring heists with such nonchalance?  I know this is supposed to be a comedy but I don’t find humour in any of this.  It may pass for a second grade skit on Saturday Night Live but not on a big screen and not costing me $8.